Fair & Balanced: PilotFalling Down Again
by scribbles-on-a-sunny-day
Summary: Vera is joining five others at the bottom of the food chain, but her first assignment turns out to be deadly. A hostage situation has just unfolded at a local hotel, and though Vera’s attempts to uncover the truth seem exciting, it could cost her her life
1. Teaser

**1x01 – "Pilot/Falling Down Again"**

**TEASER**

**EXT. Vera's Home – Early Morning**

All is silent. Suddenly, we see a figure rush past the window that looks over the hillside.

**INT. Vera's Home – Kitchen – Early Morning**

MUSIC CUE: "Lost Art" by Mere Mortals.

We first see VERA FULLER, a twenty-something Michelle Rodriguez, as she rushes into the kitchen, dropping her bag onto the chair beside the kitchen's archway entrance. Her two roommates, CARI BURNELL, a twenty-something Drew Barrymore, and NADINE CLARK, a twenty-something Rosario Dawson, are already up. A breakfast of bacon, eggs, and French toast is being made.

CARI:

Whoa, sweetie, what's the rush?

NADINE:

Yeah, hun, what's with the crazy Cheney 'tude?

VERA:

It's my first day, and I'm already running late!

VERA grabs an apple from the fruit bowl on the counter, grabs her coat and bag, and rushes out the back door. NADINE twirls back around on her chair by the island and faces CARI.

NADINE:

Cheney, I tell you.

**EXT. Parking Lot – Vera's Work – Morning**

MUSIC CUE: Louder on "Lost Art" by Mere Mortals.

Aerial shot: VERA swerves into the parking lot, causing the driver of the car behind her to honk their horn. She races into one of the last parking spots in the lot and gets out.

We switch to a closer shot. VERA grabs her bag from the passenger seat and closes the door. She beeps her alarm, making sure the car is locked. Fixing her hair and straightening out her outfit, she power-walks to the front sliding-glass doors.

MUSIC CUE: Fade out "Lost Art" by Mere Mortals.

**INT. Newsroom – Morning**

VAL MARTIN, a blonde bombshell with a permanent scowl on her face, is already beginning the lecture with the interns. She stands by her editors desk while the interns, including KIYA SOPHRONIA, an innocent-looking brunette, JAMES KELLERMAN, a brunette with boyish good-looks, JASON LANE, a cocky, jock-looking dirty blonde, TAYLOR JACKSON, an innocent-looking blonde, and ALEX DAVIES, a heavier-set brunette beauty, stand in front of her, paying close attention. Some hold notepads and pens in their hands. VERA rushes in, the wooden door behind her slamming loudly. Everyone turns to look. VERA is clearly embarrassed.

VAL:

Name?

VERA:

Vera Fuller.

VAL marks something down on her notepad and continues with the lecture.

VAL:

As I was saying, you bunch are merely interns at the Calgary Herald. You are at the bottom of the food chain, and will not be getting any special attention from myself or any of the other long-timers. This is a learning experience, I know, and you will find out that the best way to learn is the hard way. If you'd like to cover anything of interest, you're going to have to do a damn good job of convincing me that you deserve it and that I won't regret it, or don't bother getting your hopes up.

Beside VERA, JASON whispers to ALEX.

JASON:

Jeez, has she starred in _Mission Impossible_ lately or something?

VAL:

I will not give you any lee-way for mistakes. If you screw up, you get pushed even further down the chain. You pick up and move on. You get over it and work your ass off on your next assignment. This week, you'll each be assigned to a low-key story, letting you familiarize yourself with the newsroom and your new co-workers. This is the only babying you will receive from here on in. Have fun.

VAL grabs a stack of papers from her desk and begins handing them out to each of the interns. VERA uncomfortably shifts her position as she waits behind JASON to get her assignment.

**INT. Newsroom Archive – Afternoon**

MUSIC CUE: "Gold Rush" by Kissinger.

VERA sits in a corner of the library with her legs crossed. She has papers all around her, as well as books. Currently, she is flipping through the pages of a magazine. JASON enters. VERA looks up, and JASON looks around.

(beat)

JASON:

Having fun?

VERA:

Oh, a blast. I'm now up to hour five of researching this guy. Doctor Philip Retterman: Ph.D. from Stanford, written ten books—two about the history of lyme disease—what could there possibly be about that to write an entire book about?—and officially the most boring person on the planet. But, of course, he's in town this weekend headlining a life science conference, and moi has to interview him.

JASON:

Be nice, now. You don't want to displease the fourth Pasha, do you?

VERA:

It's my first assignment. I'm going to kick ass.

**END OF TEASER**

**Opening Credits ("La Femme De'Argent" by Air). Regulars: Vera, Jason, Val, Keith, Cari, Nadine.**

4


	2. Act One

**ACT ONE**

**1.**

**INT. Vera's Home – Living Room – Night**

MUSIC CUE: "I Know I Know I Know" by Tegan & Sara.

VERA is working on her research still, though she has begun writing. NADINE is sitting on the Laz-E-Boy, reading.

VERA:

"Retterman has always been a very…" He's been a very what? Not something as simple as "smart". He's been a very…

NADINE:

Intelligent?

VERA:

No…

NADINE:

Acute?

VERA:

No…

NADINE:

Keen?

VERA:

No…

NADINE:

Scintillating?

VERA:

Okay, you've been having way too much fun with your thesaurus.

NADINE:

I'm going to marry it.

(beat)

NADINE:

(continued…)

Don't stress; you'll do fine. You're an amazing writer.

VERA:

Yeah, but the editor is vicious. I swear, she's like a female Bush.

NADINE:

You'll be fine.

(picking up phone)

What do you want on your pizza?

MUSIC CUE: Stop playing "I Know I Know I Know" by Tegan & Sara.

**2. **

**EXT. Vera's Home – Night**

We see VERA still sitting on the floor by the coffee table, writing, while NADINE orders the pizza.

**3.**

**INT. Vera's Room – Night**

VERA is sleeping. The window is open, and the wind blows a soft breeze against the thin white curtains. It's spooky, but not in a _Ghost Whisperer _kind of way, just in that it's dark and windy. Suddenly, a flash of yellow and blue light fills the screen. In VERA's dream, a clerical worker jumps behind the lobby desk. The yellow and blue flash fills the screen again, and we see VERA shift uncomfortably as she sleeps. Again, a yellow and blue flash fills the screen as we see the longer, second part of VERA's dream. Several hotel guests are running, but running from whom? And what hotel is it? Cut back to VERA, with the flash again, as she jumps up in bed, breathing heavily. Clearly, she is startled.

**4.**

**INT. Vera's Kitchen – Morning**

VERA sits at the island, reading the newspaper and sipping coffee. She's been up for a while, as is noticeable from the mess at the sink. CARI walks in, yawning and stretching.

CARI:

Yo.

(beat)

CARI:

(continued; grabbing coffee mug and pot)

What's up?

CARI finishes pouring her coffee and sits down on the stool across from VERA, looking at her confusedly.

CARI:

Earth to Fuller.

VERA looks up, as if just realizing CARI'S presence.

VERA:

Oh, hey.

CARI:

Hey. Got your mind on something?

VERA:

No.

CARI:

Hun, I've known you since high school. I can tell when you're lying.

VERA:

I'm not lying.

CARI:

Please. Don't be another Frey.

VERA:

I just had a weird dream. It kind of freaked me out.

CARI:

What was it about?

VERA:

Nothing. I better shower and get going.

VERA goes to the bathroom, leaving CARI to wonder.

**5.**

**INT. Newsroom – Morning**

VERA is working on a laptop, her research notes and some books written by Philip Retterman beside her. JASON sits at the same desk opposite her, on his own laptop. VAL walks up behind him.

VAL:

Can I have a word?

JASON:

(without looking behind him)

Anthropomorphic. It's all yours.

VAL clears her throat, and JASON, realizing his mistake, turns around to face her.

JASON:

I thought you were someone else. Sorry.

VAL:

I can take a joke. I actually wanted to speak with Vera.

(to Vera)

Do you mind?

VERA:

No. Actually, I could use a break.

VAL:

Good. Come with me.

JASON:

(quietly, to Vera as she passes)

Don't get lost in Brigadoon.

**6.**

**INT. Val's Office – Morning**

MUSIC CUE: "I Don't Know" by Starsailor.

VAL walks into the office first, with VERA following closely behind. VAL sits down at her desk, inching the mug filled with pencils and pens a little bit closer to VERA. It seems to be a compulsive thing. VERA sits at the chair across from VAL, clearly nervous—after all, it's only her second day.

VERA:

So what did you want to talk to me about?

VAL:

I heard through the grapevine that you were bad-mouthing your weekend interview. That, to me, doesn't sound like a person who is dedicated to her job, or responsible.

VERA:

I—

VAL:

Are you worthy of doing this interview? Or better yet, getting assigned to another story?

VERA:

Yes! I swear, I'll keep my personal opinions to myself from now on.

VAL:

In news pieces, yes. But don't forget about your opinions—you may need to work on an editorial piece in the future.

VERA:

Okay.

VAL:

Just be careful who you talk your mouth off to.

VAL walks out of her office, taking a stack of papers with her. VERA exits, closing the door behind her, with a worried and avenging look on her face.

**7.**

**INT. Newsroom – Day**

MUSIC CUE: Stop playing "I Don't Know" by Starsailor.

VERA walks up to JASON, standing beside him with her arms crossed as he works on his laptop. He looks up with a smirk on his face.

JASON:

I don't want sprinkles. For every sprinkle I find I shall kill you.

VERA:

What did you think you were doing?

JASON:

I have no idea what you're talking about.

VERA:

You told Val what I said about Retterman.

JASON:

(still sarcastic)

I did no such thing.

VERA:

Then how did she find out?

JASON:

Look, I wouldn't do that.

VERA:

(disbelieving)

Sure. I'm probably your biggest competition, why wouldn't you want to do anything you could to destroy me?

As VERA speaks, JASON gets a tinge of hurt on his face. He quickly covers it up.

JASON:

Well, I'll be sure to send my assistant over next time to do the dirty work. Tootles.

JASON closes his laptop and walks off. VERA walks back to her spot and sits down, opening another textbook and preparing to type. ALEX walks up to her and sits down. VERA looks busy, so ALEX just stares, waiting for VERA to notice her. VERA looks over, subtly startled.

VERA:

Hey, Paris Hilton, where'd you come from?

ALEX:

Huh?

VERA:

Never mind. What's up?

ALEX:

So, I'm researching this woman—her name's Jillian Bloom—and she's head of the annual "save-our-friends" campaign. I have to interview her on Saturday.

VERA:

"Save-our-friends?"

ALEX:

It's a walk-a-thon against animal cruelty.

VERA:

(with a tinge of sarcasm)

Of course. What do you need?

ALEX:

You don't know anything about her, do you?

VERA:

I can't say that I do.

ALEX looks disappointed.

VERA:

(continued)

Did you think I would?

ALEX:

Well, I just figured, since you're a vegetarian…

VERA:

Oh.

ALEX:

My grandma's a vegetarian. She hates meat.

VERA:

Well, most of us do.

(beat)

Anything else?

ALEX:

Nope!

ALEX skips off.

**8.**

**INT. Vera's Home – Living Room – Night**

MUSIC CUE: "Smoke It" by the Dandy Warhols.

All is quiet, save the background music. We hear a key struggling to unlock the front door, and VERA pushes open the door. She stumbles in, laughing. CARI and NADINE are behind her. They are dressed up, clearly just arriving home from a club. The three drop their bags on the floor by the front hall closet, and kick their shoes off. NADINE walks downstairs to her room. VERA and CARI are now in the kitchen.

NADINE:

(off camera)

Good night! Sleep tight! Don't let the bed bugs bite!

CARI:

(in the same tone)

Good night! Sleep tight! Don't—

VERA:

(holding finger over Cari's lips)

Don't you dare.

CARI:

Fine. I'll see you tomorrow!

VERA:

(lightly laughing)

'Night.

CARI prances off to her room. VERA walks upstairs. The camera pans to the open balcony window, with the wind slightly blowing the curtains around. Someone has been inside.

MUSIC CUE: Abruptly end "Smoke It" by The Dandy Warhols.

**END OF ACT ONE**

8


	3. Act Two

**ACT TWO**

**9.**

**EXT. Centre Ave. – Morning**

MUSIC CUE: "On the 54" by The Dandelions.

We are viewing a wide shot, as we can only see the "almost" birds-eye-view of VERA'S car. VERA pulls off toward a gas station, and we cut to a closer shot of her getting out of the car. She opens the lid of her gas tank and begins filling up. JASON walks out of the small convenience store, putting his wallet into his back pocket. He sees VERA and smirks, ready to pull out his wit.

JASON:

Car trouble, miss?

VERA sees JASON and rolls her eyes.

VERA:

Just filling up.

JASON:

Uh-huh. Gosh, that must have been a _huge _cereal box.

(beat)

Had any eggs yet?

VERA:

What?

JASON:

It's Friday.

VERA:

Okay…

JASON:

_Fri_day…

VERA:

Yeah, I got it. It just wasn't funny.

JASON:

Wow. You sure are fun, fun, fun.

JASON gets into his black mustang and drives off. VERA continues to fill up her gas tank.

MUSIC CUE: Stop playing "On the 54" by The Dandelions.

**10.**

**INT. Newsroom – Day**

VERA walks in. Everyone is crowded around the two TV's that are attached to the roof. The news is showing a video of the Ramada hotel.

VERA:

(to James)

What's going on?

JAMES is about to reply when…

JASON:

Some "peace" group is holding a bunch of people hostage over at the Ramada hotel. That's what their calling themselves.

NEWS REPORTER:

(on TV)

There is no word yet on the safety of the hostages, but channel seven news will continue to monitor the situation. This is Hannah Rovan reporting.

NEWS ANCHOR:

(on TV)

Thank you Hannah.

(to viewers)

We'll keep you updated on this breaking story as it unfolds.

VERA:

Wow. Is anyone over there right now covering this?

JAMES:

They're not going to let any of us do this. Val sent over Peter, one of the column guys. He's been here forever.

VERA:

Oh, this would be great experience.

VERA starts over to VAL, who is frantically searching on her computer for the latest updates.

JAMES:

(to Vera as she walks away)

Good luck.

JASON:

Why don't you go rub a lamp for her.

We cut to VERA, who is standing in front of VAL's desk.

VAL:

I don't have time to chat right now, Miss Fuller.

VERA:

I know, I was just wondering—

VAL:

Miss Fuller, I'm extremely busy. The coverage of this story could make or break my career. I don't have time to do you any favours. Good bye.

VERA walks away, a bit angry.

JASON:

(to Vera)

Like I said, you're going to have to rub a lamp.

**11.**

**INT. Newsroom – Day**

MUSIC CUE: "Lost Art" by Mere Mortals.

VERA is sitting in front of her laptop, glancing over at the TV every once in a while. She then glances over to VAL, who is busy on her cell phone talking with Peter.

VAL:

Peter, I'm not paying you to slack off!

(beat)

Don't make me come down there.

(beat)

Peter! Get the story, or the only two words you'll hear from me from now on will be "you're fired."

VAL slams her phone shut. VERA glances around her nervously, and quickly packs her laptop into her bag, along with a notepad and pen. She gets up, trying to go unnoticed, and slips out the door. JASON glances up from his notebook to see VERA walking out, the door closing behind her. He looks over at VAL, who hasn't noticed a thing, and follows in Vera's footsteps.

**12.**

**EXT. Ramada Hotel – Day**

Journalists are everywhere. There are camera crews set up by the police barricades, reporting their stories. We are panning through the crowd when we see VERA, poking her head around a large man. She squeezes her petite self through, getting out her camera.

POLICEMAN #1:

I'm sorry, miss, but we can't allow you to take any pictures.

VERA:

I'm a reporter.

POLICEMAN #1:

Where's your identification?

VERA looks through her bag, not finding anything.

POLICEMAN #1:

That's what I thought. Move along now.

VERA:

But—

POLICEMAN #1:

Go!

VERA gets back into her car and drives off. We see JASON drive slowly by, seeing the confrontation with VERA. He speeds up after he passes the police tape.

MUSIC CUE: Stop playing "Lost Art" by Mere Mortals.

**13.**

**INT. Starbuck's – Evening**

MUSIC CUE: Quietly in the background, begin playing "Utopia" by Alanis Morissette.

VERA is sitting in a comfy chair by the fireplace, sipping her coffee and doing still more research. She has her notebook by her side, ready to jot down any important points. JASON walks in and heads for the counter. As he looks for something to order, VERA notices his presence. She attempts to disappear, hiding her face behind one of her books. Moments later…

JASON:

Oh, come on. Nobody else is as obsessed with research as you are. You didn't think I wouldn't recognize you, did you?

VERA:

I can dream.

JASON:

About me? I know, I do it, too.

VERA rolls her eyes and JASON takes it upon himself to sit in the comfy chair opposite her.

JASON:

So, how's the research going?

VERA looks at him sceptically.

JASON:

(continued)

I'm serious. I really want to know.

VERA:

No, you don't.

JASON:

What makes you say that?

VERA:

Oh, I don't know. It could have something to do with the fact that you've been nothing but a jerk to me since we met, or perhaps that you ratted me out to Val. I was having a bad day, okay? I didn't need you to—

JASON:

I didn't do it, I swear.

VERA:

You know I'm never going to believe you.

JASON:

Fine. Believe whatever you want.

JASON grabs his coffee off the ledge and heads for the door. VERA looks a little bit guilty, regretting her bitter tone toward him.

JASON:

I know where you were today.

JASON leaves, and the look of apology washes off of VERA's face, a look of anxiousness replacing it.

MUSIC CUE: Stop playing "Utopia" by Alanis Morissette.

**14.**

**EXT. Street – Night**

MUSIC CUE: "Oh My" by Mellowdrone.

VERA is walking down the poorly lit, damp street, about three blocks from the Ramada hotel. She takes one last sip of her coffee, and tosses the cup into a trash can by the brick wall. She walks past Chintz & Company, a furnishing store. As she continues walking, muffled voices grab her attention. The voices are indistinct right now, but as she moves closer they become clearer. We are hearing what she hears. She peeks around the corner into an alleyway, and sees two heavily built men having a discussion. The camera pans to behind VERA as she watches the conversation.

MAN #1:

What else can we do? The police aren't giving in. They haven't even called the federal agents.

RAZZE:

Well, we can't give up either! I didn't come all the way up here for nothing.

Cut to shots of the two men closer up.

MAN #1:

I know. I'm not saying we should give up, it's just—

RAZZE:

It's just what? I left my family, I left my job, I left my life! All to go to this hotel, get the money, and find a better life. I'm not going to just escort myself right to my jail cell.

MAN #1:

That's not what I'm saying.

RAZZE:

Well, it sure as hell sounds like it.

Cut back to the wide shot of VERA'S back as she watches the interaction. RAZZE opens the door to the building outside of which they are talking, and heads inside. Moments later, MAN #1 follows. VERA turns back toward the camera, and we see the confused, frightened, and shocked look on her face. Thunder can be heard lightly in the background.

MUSIC CUE: Stop playing "Oh My" by Mellowdrone.

**END OF ACT TWO**

7


	4. Act Three

**ACT THREE**

**15.**

**INT. Vera's Home – Night**

CARI and NADINE are sitting at the island, eating ice cream. VERA unlocks the door and walks in, water dripping from her hair. CARI and NADINE look up, surprised. They both get up, and NADINE takes VERA'S coat from her.

NADINE:

Vera, honey, where have you been?

VERA:

There was this guy. Two guys, actually.

NADINE:

Ooh, really?

VERA:

Not like that. I'm surprised gunfire didn't break out, or that no knives were being ripped out of boots.

CARI:

What are you talking about?

VERA:

I was walking home from Starbucks—

NADINE:

(looking outside)

In this?

VERA:

Not the point.

NADINE:

Sorry.

VERA:

These guys, I think they're somehow involved in the hostage situation at the Ramada. They were talking about having left everything behind to get money from a hotel, and how the police weren't giving in to their demands. They didn't seem like they knew what to do.

CARI:

You should call the police.

VERA:

They already know what's going on. If I call them and worry them… The only thing that would solve is whether or not I continue my internship at the paper.

CARI:

This is serious, Vera. This hostage thing—nobody's died yet, but it's only been a day.

NADINE:

Yeah, and who knows what will happen if they decide to do something to convince the cops to move forward with their demands?

VERA:

I don't know.

(sighs)

I need some sleep.

NADINE:

We all do. We'll worry about this in the morning.

NADINE and CARI head to their rooms, as does VERA. However, VERA returns only moments later to lock the deadbolt on the front door. We see this entire thing as a wide shot of the entire room until the door is locked, where we see a close up of the deadbolt. As it locks, the special effects take over as we zoom into the inside of the door, with the deadbolt being locked.

**16.**

**EXT. Calgary Herald Parking Lot – Morning**

MUSIC CUE: "The Trial of the Century" by The French Kicks.

The camera is showing everything in a wide shot. We can practically see the whole lot. VERA swerves into her spot and gets out. We switch angles and are now closer to VERA and she closes her car door. We hear the sound of her alarm as she checks to make sure it is locked. JASON appears behind her, as she walks toward the front doors. He catches up with her.

JASON:

(in a fake English accent)

Would that it were the pretentious miss Fuller.

VERA:

My, my. You always have such a way with words, Dave.

JASON:

I don't know. Poetry's not really my thing.

VERA:

But the junkie part is.

JASON:

(sarcastic)

Clever.

VERA:

I thought so, too.

JASON begins walking faster, getting ahead of VERA.

VERA:

Where are you off to in such a hurry?

JASON:

Oh, didn't you hear? Val decided that it would take a little stress off of her to have another person helping Peter with the hostage situation. And guess who got nominated?

VERA is shocked.

JASON:

(continued)

Hey, don't look at me. You're the one who snost and lost.

VERA:

Who in their right mind would nominate you?

JASON:

Alex.

During VERA's next line, they open the front doors and walk inside the building.

VERA:

Oh, well, she's a keeper. It figures she'd think you would do a good job at handling such a delicate situation—the girl doesn't even know how to turn a laptop on.

JASON:

Jealousy is not a good colour on you.

They show their identification cards to the lady in the glass box.

VERA:

Have you ever seen her working on one?

JASON thinks for a moment, coming up blank.

VERA:

(continued)

Name one other person who you haven't seen working on a computer?

(beat)

That's what I thought. But, hey, congrats, buddy!

As the camera switches to a shot behind the two, VERA speeds up, walking in front of JASON to the archway entrance of the newsroom. The camera angle switches to one inside the newsroom as they walk in. The place is already busy. VAL approaches them as they reach VERA's desk.

VAL:

Jason! What are you doing here? You were supposed to meet Peter at the hotel an hour ago to go over the rules!

JASON:

I was?

VAL:

Great job of paying attention yesterday.

(under her breath)

Amateur.

VERA smirks, enjoying JASON's scolding. JASON looks over at her and sees her smirk. He clearly wants to make a snide remark to her.

VAL:

Vera?

VERA:

Yes?

VAL:

Can you go with Jason to the hotel? Clearly he needs some supervision.

VERA:

You're assigning me to the story, too?

VAL:

(sarcastic)

No, I'm assigning you to baby-sit him.

(beat)

So? Yes or no?

VERA:

Yes! Definitely yes.

VAL:

All right. Well, you two better head over there before it's too late. I'll call Sherri, get her to find your ID's. Don't leave without them. Got it?

JASON:VERA:

Yes.Yes.

VAL walks away, and VERA and JASON head back toward the front doors.

JASON:

(quietly)

Who's Sherri?

VERA:

The lady in the glass box.

MUSIC CUE: Stop playing "The Trial of the Century" by The French Kicks.

**17.**

**EXT. Ramada Hotel – Day**

MUSIC CUE: "Lost and Found" by Adrienne Pierce.

KEITH JOHNSTON, a forty-ish balding man with a great sense of humour and responsibility, is waiting for VERA and JASON behind the police tape. VERA and JASON pull up nearby in VERA'S car and find KEITH.

JASON:

Where's Peter?

KEITH:

He's at home.

The two look at him sceptically.

KEITH:

He got a little scared.

JASON laughs.

VERA:

Keep it up, buddy, karma's a bitch.

KEITH:

You have your photo identification cards?

VERA and JASON nod.

KEITH:

(continued)

All right. Come with me. I'll show you what's going on and how to deal with anything that could be thrown at us in the next little bit, and then we'll figure out our game plan for the day. Sound good?

VERA:

Yep.

KEITH:

All right. Let's go.

KEITH, VERA, and JASON walk further toward the crime scene as we pan out, showing the entire crowd.

**18.**

**EXT. Ramada Hotel – Day**

JASON and VERA follow KEITH to the reporter station, where several print, television, and radio personalities are gathered.

KEITH:

This is a great experience for the two of you. Unfortunately, there are people inside that are in great danger. Nobody has been hurt yet, but the police are trying to move as quickly as possible.

VERA:

What if they get impatient?

JASON:

Here we go.

MUSIC CUE: "Lost and Found" by Adrienne Pierce begins fading out.

KEITH:

What do you mean?

VERA:

The suspects. What if they get sick of waiting and decide to take things into their own hands? I saw on TV once that a group holding a science conference hostage decided to kill one hostage every hour in order to make sure their demands were met.

KEITH:

That's for the police to deal with, not you.

VERA:

But—

KEITH:

I assure you, the city police are doing everything in their power to make sure that no major incidents happen.

VERA:

(shocked)

Incidents?

KEITH:

The Edmonton city police are being put through an orientation right now, and will head down here to meet with us. Everything that can be done is being done. It's not your position to say otherwise.

VERA:

I'm just trying to make sure that those people in there get the protection they deserve.

JASON:

Oh, that's rich.

VERA:

What?

JASON:

Come on. You know the only reason you're so apt about having your say in this is so you can get the big headlines and prove to Val that you should be working solo.

VERA:

That's not true!

KEITH:

Are we five? No. Really? We need to be professionals about this. Or maybe I should call Val and tell her that her interns are doing nothing but getting in my way.

VERA:

Sorry.

KEITH sees someone of interest and runs off to talk to him, holding a voice recorder out.

KEITH:

(running off)

Joel! Joel! I got a couple questions for you!

JASON and VERA look around for something to do—something that won't get a myriad of people mad at them.

JASON:

Well, you have fun here, miss pixie-stick. I'm off to the races.

JASON begins to walk away, but turns around and walks backwards when VERA speaks.

VERA:

Where are you going?

JASON:

Would you believe? They wouldn't let me into the building.

VERA:

(running up to him)

You can't go in there!

JASON:

And why is that?

VERA:

It's dangerous.

JASON:

Right, because you really care about my welfare. Hey, cover for me, will 'ya?

VERA:

No!

JASON:

Vera, come on.

VERA:

I'm not getting myself fired so that you can go have your fifteen minutes.

MUSIC CUE: Begin playing "I Hate it That I Got What I Wanted" by Clearlake.

JASON:

You will.

VERA:

I will what?

JASON:

You'll cover for me.

VERA:

No, Jason, I won't.

JASON:

(to Vera)

Yes, you will. You know, just because you despise me, you're the only one I trust.

VERA:

Another line.

JASON:

But this time I mean it.

JASON does a little skip before he walks away, looking for a way into the hotel. VERA looks around her, worried.

**19.**

**INT. Ramada Hotel – Day**

JASON quietly walks through the main corridor, looking around for anything out of the ordinary. We hear muffled voices, and JASON peeks his head around the corner, looking into the lobby. The two men who were seen earlier in the alleyway are quietly discussing amongst themselves in the corner. KILBE, a large, dark-haired man who seems to be the leader, is pacing back and forth near the front desk, speaking on his cell phone to the police. There are several families and couples huddled in the room, looking scared.

KILBE:

I don't care what you have to do, just get me the money and the safe trip out of here ASAP.

JASON continues to watch the scene unfold, a look of fear creeping into his eyes. It's not a lot, but it's there. A woman huddled against the wall that JASON is peering by gasps as she notices him. The fear in his eyes is subtly becoming more and more evident. He raises a finger to his lips, and shows her his Herald ID. She nods, and he continues to watch the scene, looking for a sneakier way in.

MUSIC CUE: Stop playing "I Hate it That I Got What I Wanted" by Clearlake.

**20.**

**EXT. Ramada Hotel – Day**

A wide angle shot of the crowd. We notice VERA sitting on a lawn chair by the reporter station, jotting down notes in her book on the foldable table. It is crowded near her, but she is alone. We slowly zoom in on her as we hear snippets of the conversations nearby.

WOMAN #1:

As negotiations slowly proceed, fears continue to grow about the possible backlash from the terrorists.

MAN #2:

Uncertainty about the patience of the terrorists is causing some to fear for the safety of the hostages. Nadia Jamal's sister, Jaani, is one of the hostages inside. Nadia, what do you have to say?

NADIA:

She has to be okay! Someone needs to do something, we have to get her out of there!

WOMAN #2:

We will continue to bring you coverage of the breaking news as it all unfolds.

VERA looks up at one reporter, cringing. KEITH walks up to her.

KEITH:

Sorry about that. I just wanted to ask a couple questions about the situation—maybe get some inside info.

A beat passes as VERA continues to stare at the crowd.

KEITH:

What's wrong?

VERA:

(not looking at Keith)

It's just… These reporters—they're doing nothing but exploiting the situation. Making it seem as dramatic as possible so their station can get higher ratings. It's not right.

KEITH:

If you can't get past that, then journalism is not the career for you.

VERA finally looks at him.

KEITH:

(continued)

You're going to do plenty of things in your life and wonder how you could have done it. There will be many things that you have to do, but that you don't necessarily agree with. Believe me.

VERA nods, but still has a look of disgust on her face. KEITH looks around.

KEITH:

Hey, where'd Jason go?

VERA looks at him, realizing that now is the moment of truth. Either she tells him the truth or she lies to cover Jason.

**21.**

**INT. Ramada Hotel – Office – Day**

MUSIC CUE: "Bad Boyfriend" by Garbage.

The room is empty. A lock is being jiggled. JASON pushes open the door, and stumbles into the office. He looks around, unsure of what to do.

JASON:

(quietly)

Phone… Phone…

JASON finally finds what he is looking for inside one of the drawers of the big desk, and picks it up. It's a cell phone. He opens it and sees the flashing screen message of:

_Battery Low._

JASON sighs in frustration and tosses the phone back into the drawer. He sorts through some papers on the desk, frantically searching for a phone. He accidentally knocks over a lamp, breaking it. You know what he wants to say, but instead he just flails his arms around, panicking. As the door knob turns, he grabs a heavy book from the shelf, tensing up. VERA walks in, closing the door behind her.

MUSIC CUE: Start fading out "Bad Boyfriend" by Garbage.

JASON relaxes.

VERA:

That's a very good way of getting yourself caught.

JASON:

It was an accident.

VERA:

I know.

JASON breathes a sigh of relief.

JASON:

I thought you were one of those guys.

VERA:

You mean, one of the terrorists?

JASON:

Are they?

VERA:

Well, the news stations have sure jumped to that conclusion.

JASON:

Well, they probably are.

VERA:

How would you know that?

JASON:

Ver, this really isn't the time or place to be having this little discussion. We need to figure out how to fix this mess.

VERA:

You mean the mess you got yourself into?

JASON looks at her with impatience.

VERA:

(continued)

I'm just saying. If you didn't take it upon yourself to be the hero, neither of us would even be in here.

JASON:

Speaking of, why are you in here? It couldn't possibly be because you were worried about my safety.

VERA:

That's not the point. Come on, let's get out of here.

JASON and VERA head toward the door, VERA in front. She opens it and peeks outside, making sure nobody is around. They quietly step outside, and begin their trek down the hallway. All is silent, save the score quietly playing in the background.

RAZZE:

Going somewhere?

VERA and JASON freeze for a moment, then turn to face the man. VERA's face shows shock, and now we can attach the face to the voice, seeing what VERA sees. Cut back to VERA, who flashes back to the alleyway.

**FLASHBACK**

**EXT. Alleyway – Night**

RAZZE:

It's just what? I left my family, I left my job, I left my life! All to go to this hotel, get the money, and find a better life. I'm not going to just escort myself right to my jail cell.

**END OF FLASHBACK**

**22.**

**INT. Hallway in Ramada Hotel – Day**

MUSIC CUE: "I Hate it That I Got What I wanted" by Clearlake.

VERA looks at the man, fearful but still tough. JASON is doing everything he can to hide his fear, and makes a big mistake.

JASON:

(sarcastic)

Yeah, we'll just be leaving now, mister.

RAZZE:

Oh, you're going to mock me?

RAZZE pulls a gun out of his jacket, dangling it around as he steps a bit closer to JASON and VERA.

RAZZE:

Do you really think that's wise?

Suddenly, JASON's fear becomes a bit harder to mask.

JASON:

Look, man, I'm sorry.

RAZZE:

Oh, you're sorry? Well! Come on, I'll show you outside then.

RAZZE grabs onto JASON's arm, pulling him down the hallway.

VERA:

Wait! Don't—

RAZZE:

Oh, don't worry. He won't be alone. Len!

LEN walks out into the hallway from a hotel room and grabs VERA's arm roughly. She turns her head to face him, scared. LEN and RAZZE drag the two struggling journalists away.

MUSIC CUE: Abruptly end "I Hate it That I Got What I Wanted" by Clearlake.

**END OF ACT THREE**

13


	5. Act Four

**ACT FOUR**

**23.**

**EXT. Ramada Hotel – Evening**

KEITH walks over to one of the journalists who seems to be in charge of the surroundings. Clearly, KEITH knows him.

KEITH:

Paul, have you seen Jason or Vera?

PAUL:

No. Why?

KEITH:

Well, Jason I haven't seen in a while. I know he isn't the most reliable person, but he's an intern. I seriously doubt that he'd purposely leave this kind of a story. Vera was just around about a half an hour ago, but I haven't seen her since then, and she's definitely not the type to just desert this. She's serious about this story.

PAUL:

Ever think maybe they're meeting in mop closets?

KEITH chuckles.

KEITH:

Nah, Vera can't stand him.

PAUL:

I don't blame her. The guy's not anyone's favourite person.

KEITH:

Well, thanks. If you see them, let me know.

PAUL:

Will do, Keith.

KEITH walks away, looking around for the two.

**24.**

**INT. Ramada Hotel Lobby – Evening**

JASON and VERA are sitting in a corner, surrounded by many other frightened individuals. The "terrorists" are pacing back and forth, guns in view.

JASON:

(quietly, to Vera)

Still don't believe they're terrorists?

VERA shoots him a look, and goes back to observing the men, who are currently discussing quietly amongst themselves at the front desk.

JASON:

How are we going to get out of here?

VERA:

I don't know.

JASON:

Well, we better figure it out soon. Who knows when these guys will completely lose their minds.

VERA:

They already have.

JASON:

But they haven't killed anyone.

VERA:

Yet.

JASON:

Exactly. Yet. We need to get out of here.

MUSIC CUE: Begin playing "Tiny Cities Made of Ashes" by Sun Kil.

VERA looks over and sees a family huddled in the opposite corner of the room. The husband, who looks to be in about his mid-forties, is comforting his wife and two children, who look to be between 8 and 10.

VERA:

I can't leave everyone else in here.

JASON:

Oh, come on! If there is any time to be selfish, this is it! Stop trying to protect everyone. You're not Buffy.

VERA:

I'm not trying to be. I just can't leave them here.

JASON sighs and shifts his position. VERA rolls her eyes at his selfishness.

MUSIC CUE: Abruptly stop playing "Tiny Cities Made of Ashes" by Sun Kil.

**25.**

**INT. Vera's Home – Late Afternoon**

We open this scene with a close-up shot of the clock ticking. It is 6:45 PM. CARI and NADINE are sitting at the island nibbling on munchies, clearly wondering where VERA is.

NADINE:

Did she say if she was working late?

CARI:

No, I don't think so.

The phone rings. NADINE goes to the phone to answer it.

CARI:

Ten bucks.

NADINE:

(on phone)

Hello?

(beat)

What?

(beat)

She's on TV? What channel?

(beat)

Okay. Thanks.

NADINE hangs up and grabs the remote, switching on the television. She flips to channel seven, which is in the middle of showing a report on the hostage situation. They are showing a clip from earlier in the day, with VERA, JASON, and KEITH in the background at the reporter desk.

CARI:

She's at the hotel?

NADINE:

Oh, my God.

NADINE picks up the home phone and dials.

**26. **

**INT. Ramada Hotel Lobby – Late Afternoon**

VERA and JASON continue to sit in the corner of the room. The men are still busy discussing their plans at the front desk. We slightly hear VERA'S phone vibrating in her pocket, and JASON notices as well. She glances over to the men, who shoot a look her way. It's too dangerous to try and pick up the phone. She looks at JASON, who has a hopeful look on his face. The buzzing stops.

**27.**

**INT. Vera's Home – Late Afternoon**

NADINE has the phone pressed up against her ear, and we hear VERA'S voicemail along with her.

VERA:

(voicemail)

This is Vera. Either I can't answer, I'm away from the phone, or I just don't want to talk to you. Leave a message, and I might call you back.

NADINE gives up, and slams the phone down.

CARI:

Calm down, I'm sure she's fine. It's not like she's inside. She's an intern, they wouldn't let her do anything so dangerous.

NADINE:

Yeah, I guess.

NADINE pulls her cell phone out of her jeans pocket and begins typing a text message.

**28.**

**INT. Ramada Hotel Lobby – Late Afternoon**

JASON and VERA continue to sit in their positions against the wall. JASON turns to VERA, impatient, and whispers to her.

JASON:

Come on, it's our best shot. Use your phone—call someone for help.

VERA:

Do you see those guns? They can be used to shoot people. If I take my phone out, they will kill me.

JASON:

No, they won't.

VERA:

If they have reason to believe that either of us could get in contact with someone, they'll kill both of us.

JASON sighs and goes back to his position. VERA'S cell phone begins vibrating again. She glances over to the men, who are now busy looking over building plans. She looks at JASON, who nods, and pulls out her cell phone. VERA takes shifts her position so that she can better hide her position. She reads the text message from NADINE, and we cut to the screen on her cell phone:

_Where are you? I saw you on TV. Why are you at the hotel? Why aren't you picking up? I'm getting worried—call!_

VERA looks up again, and sees that the men are still too busy to notice her. She begins replying.

JASON:

Oh, good, finally something gets done.

VERA shoots him a look and continues typing.

**29.**

**INT. Vera's Home – Late Afternoon**

CARI is sitting on the couch watching the news while NADINE eats an apple and paces back and forth in the kitchen.

CARI:

Honey, I'm sure she's fine! She's probably just busy writing up an article or something.

MUSIC CUE: Begin playing "Paint the Silence" by South.

We cut to a shot of only NADINE as her cell phone beeps. It's a message from VERA. NADINE opens up her phone and reads as we cut to the screen on her phone:

_Being held hostage with Jason at hotel. Find Keith outside—help!_

We cut to a close-up shot of NADINE'S worried look. As she walks into the living room where CARI is, we cut to a wide shot inside the living room of both girls. NADINE begins grabbing her stuff.

CARI:

What's wrong?

NADINE:

Vera.

CARI:

Something _is _wrong?

NADINE:

I hope you have those ten bucks. She's one of the hostages being held inside the hotel, she's not busy working on an article. And when we get her out of there, I'll be sure to tell her how worried you were.

NADINE, frustrated and angry, goes outside, slamming the door behind her. CARI rushes up, grabbing her coat, and runs outside, locking the door on her way out.

**30.**

**EXT. Ramada Hotel – Evening**

We see a close-up shot of the front of NADINE's red Intrepid, closer to the tires, as it comes to a screeching stop outside the yellow tape. CARI and NADINE get out and begin searching for KEITH.

**31.**

**EXT. Ramada Hotel – Reporter Desk – Evening**

We see a lengthy wide shot of KEITH as he stands behind a younger man, who is busily typing away on a laptop. KEITH points to the screen and lets him know of a way he can improve the article. We cut to a shot of CARI and NADINE thanking someone for informing them of who KEITH is. We cut to a closer shot of KEITH at the desk. CARI and NADINE run up to him, panicking and out of breath—more so with NADINE.

MUSIC CUE: Begin fading out "Paint the Silence" by South.

NADINE:

Are you Keith?

KEITH:

I am. And you are?

NADINE:

I'm Nadine, this is Cari. We're Vera's roommates.

KEITH:

Oh. Have you happened to have seen her? Because she ditched a while ago and I'd love a chance to ask for her explanation before I inform her boss of her indiscretions.

NADINE:

She text messaged me. She's being held hostage inside the hotel. She said some guy named Jason is with her. She needs help!

A look of panic washes over KEITH'S face.

KEITH:

Oh, my God.

KEITH is suddenly put into action, and begins letting others around him know of the news.

CARI:

(to Nadine)

Do you think she's going to be okay?

NADINE, who is clearly still mad at Cari, looks at her friend determinedly.

NADINE:

I'm going to make sure of it.

CARI gives a look of support and apology.

CARI:

Me too. She's my best friend, too, you know?

NADINE:

I know.

KEITH:

(yelling, to everyone)

If anyone—and I mean _anyone_—breaths a word of this on air, I will hunt you down. We need to figure this out, and having the entire city know every detail of the situation will not help.

(to Nadine)

Do you have your phone with you?

NADINE nods.

**32.**

**INT. Ramada Hotel Lobby – Evening**

MUSIC CUE: Begin playing "Gravity/Falling Down Again" by Alejandro Escovedo.

JASON and VERA continue to sit in their spot, looking more and more impatient as each second ticks by. VERA looks up at the clock behind the front desk, which shows a time of 8:00PM. Worry begins to consume her, and she is now fighting back tears. JASON notices and puts an arm around her.

JASON:

Hey. Hey. It's going to be okay.

RAZZE shoves JASON back against the wall.

RAZZE:

You don't move!

JASON holds his hands up in defence, and RAZZE walks away.

VERA:

(quietly, to Jason)

You don't know that.

JASON:

I do.

VERA is clearly unconvinced.

JASON:

(continued)

We're going to get out of here. I promise.

VERA:

Don't make any promises you can't keep.

MUSIC CUE: Begin fading out "Gravity/Falling Down Again" by Alejandro Escovedo.

JASON gives up. Obviously nothing he does will help, because VERA clearly doesn't trust or like him, as far as he can tell. VERA's cell phone begins vibrating again. She looks up, and pulls out her phone, hiding it as best as she can. We cut to the screen:

_We're here. We're getting help—stay calm! We love you._

VERA begins softly crying. It's not much, but the tears are there. JASON is concerned.

JASON:

What happened? What did they say?

(beat)

What's going on, Ver?

VERA shows him the message. He has a confused look on his face.

JASON:

So, that's a good thing, isn't it?

VERA:

_We love you_. It's like they've almost given up before even starting.

JASON:

I seriously doubt it.

VERA looks over at the men, who all have guns in their hands.

VERA:

I don't want to die.

JASON:

I promise everything will be okay. I promise. I won't let them do anything to you.

VERA:

Why are you being so nice all of a sudden?

JASON:

What do you mean?

VERA:

Usually you're so snarky and mean. Why is that?

JASON pauses for a moment.

JASON:

Everything's going to be okay.

VERA:

I'm serious. Why are you—

JASON:

We'll get out of this soon.

VERA gets a defeated look on her face and goes back to sitting quietly against the wall, wiping the tears from her face. She is no longer crying, though.

**33.**

**INT. Newsroom – Evening**

We are viewing a wide shot of the newsroom. The place is still buzzing, and news reports are playing on the televisions. Everyone is either typing or jotting down notes while watching the news. We pan over to VAL, who is over at her editor's desk, typing on her computer. JENNA, a thirty-something redhead reporter, comes over to VAL'S desk. VAL holds up one finger and continues typing. She finishes momentarily, and looks up.

VAL:

Okay, go.

JENNA:

Keith is on line one. He sounds worried.

VAL:

Hmm. I wonder what about? Thanks, Jenna.

JENNA walks away, and VAL picks up her phone, pressing "line one".

VAL:

Keith, how's it going?

**34.**

**EXT. Ramada Hotel – Reporter Desk – Evening**

KEITH holds the cell phone to his ear.

KEITH:

I cannot even baby-sit adults, don't ever let me look after your kids!

VAL:

(on the other line)

Why? What's wrong?

KEITH:

I kind of lost track of Vera and Jason…

**35. **

**INT. Newsroom – Evening**

VAL:

You lost track of them?

KEITH:

(on the other line)

Vera's roommates got a text message from her. She's in the hotel.

VAL is suddenly filled with fear and worry, with a little bit of anger mixed in there.

VAL:

How did they get in there?

KEITH:

(on the other line)

I don't know.

VAL:

Okay. I'll be right over.

VAL hangs up the phone and stands up.

VAL:

James?

JAMES:

(going up to the desk)

Yeah?

VAL:

I'll be gone for a while. An emergency came up. You're in charge.

VAL grabs her stuff and heads for her car.

**36.**

**EXT. Ramada Hotel – Late Evening**

KEITH is sitting at the desk going over some building plans with the police when VAL walks up.

VAL:

So what do we know?

KEITH:

Vera sent a text message to her roommate, Nadine.

KEITH nods behind him and NADINE makes a slight wave, worry written all over her face.

KEITH:

(continued)

Vera and Jason are being held hostage in the hotel. From the little the police have been able to observe, we all think that it's most likely that everyone is being held in the lobby. We're assuming that Jason and Vera would be in there as well, unless maybe the terrorists know that they are journalists.

VAL:

Yeah, they probably have a little something against journalists.

KEITH:

Just a little.

MUSIC CUE: "Run" by Air

OFFICER #1:

So here's the plan, people.

Things are being set in motion and everything is becoming a little more fast-paced. No more slow or mellow scenes until the end of the action sequence.

**37. **

**INT. Ramada Hotel Lobby – Night**

RAZZE and LEN are looking out the window, which is mostly covered with black tape, and discreetly talking. JASON and VERA continue to attempt to mask themselves in the corner.

JASON:

(unconvincingly)

Any time now. Any time.

VERA:

Everything will be okay, huh?

JASON:

It will.

VERA:

Come on. Even you don't believe that anymore. Look around! Everything is notokay.

KILBE, over at the front desk, hangs up the phone in annoyance and frustration, and goes over to LEN and RAZZE.

KILBE:

They're refusing to do anything. It's time for us to.

RAZZE:

(looking out the window)

There are so many news crews out there.

KILBE:

(smiling)

Good.

KILBE goes over to JASON and VERA and grabs a hold of JASON'S arm, pulling him up. He drags JASON over to the door, amidst pleas from VERA to let him go, and opens up the front doors. Reporters immediately turn on the blinding lights, and flashing blue and red police lights are going off. A few red taser beams are being pointed toward the front door, but once it's realized that JASON is a hostage, they move to the side. Police continue to hold their guns steadily aimed at KILBE, who walks a step closer to the stairs, using JASON as a shield. He holds a gun to JASON's head.

KILBE:

If anyone so much as _attempts_ to take me down, I swear to you that he will go down with me! My boys will kill everyone inside before you can even make it up these steps. Is that clear? Good. I want my money, and a safe trip out of here. You have one hour before I start making my point even more clear. Either you take that deal, or you're looking at a busy night in the morgue.

OFFICER #1:

One hour? Even if we contact the federal units, I still can't guarantee that a safe trip will be ready in an hour!

KILBE:

Well, you're going to have to figure it out then, aren't you?

Suddenly, every hostage from inside the building comes running outside, knocking over JASON and, most importantly, KILBE. Gunshots begin going off, both from the police and the terrorists, and panic ensues.

**38.**

**INT. Ramada Hotel Lobby – Night**

Inside, VERA, purposefully setting herself behind the crowd, surprises RAZZE from behind, slamming a coat rack to the back of his head. He falls to the ground, unconscious.

VERA:

Sorry. I'm not much with the damseling.

The man from before, who VERA saw comforting his family, sneaks up behind LEN, shielding his family behind him. The man throws a chair at LEN, who doesn't fall over but is momentarily stunned. He turns to face the man and is promptly punched in the nose, falling backwards. We see this last shot as a close-up of LEN's face as the man punches him, and LEN falls backwards out of the frame. All is quiet inside the building, but we can still hear the events going on outside.

**39. **

**EXT. Ramada Hotel – Night**

Panic continues to ensue as VERA opens the doors to the hotel. There are people running everywhere, though the gunshots have dispersed. The police are waiting for the crowd to do the same, so they can get a clear shot at KILBE. VERA notices JASON struggling with KILBE, trying to get the gun away from him. She runs toward them and uses all of her weight to pull KILBE off of JASON. She accomplishes her task, but not without falling over herself. KILBE reaches for his gun, and VERA quickly kicks it away, standing up. In the midst of all this, a shot goes off.

MUSIC CUE: Stop playing "Run" by Air here.

We cut to a mildly slow-motion shot of JASON as he stands up, getting a shocked and worried look on his face. The same looks can be seen on the faces of characters in the following shots: KEITH, VAL, NADINE and CARI.

MUSIC CUE: Continue with "Run" by Air here.

We now cut to a shot of VERA kneeling on the ground, clutching her right arm, which is bleeding. CARI has run closer to VERA in worry. KILBE grabs her leg and pulls her over. KILBE stands up, having grabbed his gun, and moves closer to CARI, pointing it at her. She begins to cry, practically begging with her eyes to be spared. JASON suddenly kicks KILBE in the stomach. The force causes him to stumble back a few steps, which, in turn, causes him to fall backwards down the cement stairs. He is officially knocked out.

MUSIC CUE: Fade out "Run" by Air.

CARI sighs in relief, and JASON and VERA share a glance.

**40.**

**EXT. Ramada Hotel – Night**

MUSIC CUE: "Time Flies Tomorrow" by Paul Westerberg

Ambulance lights are flashing as we slowly zoom towards one of them from a wide shot. VERA is having her arm bandaged up. We cut to a close-up of VERA. Then to a person who wasn't as lucky as her being wheeled away on a gurney. Back to VERA. She cringes upon seeing the dead person, albeit covered by a white sheet.

JASON walks up to VERA, and motions to her arm.

JASON:

How are you feeling?

VERA:

Like I got shot.

JASON:

Yeah.

VERA:

I was lucky, though.

JASON:

(off her stare into nowhere)

Hey, you here?

VERA:

(sighing)

Yeah.

JASON:

I told you everything would be okay.

The corners of VERA's lips slightly tilt upwards in a half-smile, but she's just too decimated to give it all the effort it needs. CARI walks up behind JASON, grabbing his hand. VERA sees this, and frowns slightly.

CARI:

You ready?

JASON, looking slightly guilty, sheepishly says…

JASON:

Yeah.

…and walks off with CARI. VERA sighs, but is too tired to give it a lot of thought. NADINE walks up to the ambulance. The E.M.S. worker finishes bandaging up VERA, and begins putting his tools away. NADINE smiles with relief at VERA, and the two hug. They continue to embrace…

NADINE:

I'm so glad you're okay.

VERA:

Thanks. You, too.

…until now. They smile at one another and stand up, slowly walking past the slightly dispersed crowd.

NADINE:

Was it scary?

VERA:

Yeah. The top five scariest moments of my life all occurred in one day. Who'd have thunk it?

NADINE:

(chuckles slightly)

I'm so sorry. We were trying to get you out of there—

VERA:

I know. You were trying everything, I know. I would do the same for you and Cari, you know?

NADINE:

Yeah, I do.

VAL catches up to them. NADINE smiles, and excuses herself.

NADINE:

I'll just be… over there.

NADINE walks away, leaving VERA and VAL to continue the slow-paced walk.

VAL:

That was very brave of you to try and save the day like that.

VERA:

Thanks.

VAL:

Don't do it again.

VERA:

What?

VAL:

I don't want my top intern getting shot every time she covers a story.

VERA smiles, disbelieving.

VERA:

Top intern?

VAL:

Like I said, that was very brave. It takes a lot of guts to do what you did today, and I mean everything you did. I know you went in there because of Jason, and you didn't even like him. Loyalty to your fellow reporter, and bravery: two qualities that I look highly upon in my employees. And you've shown it all in one week.

VERA:

(smiling)

Wow, thanks.

VAL:

So, you ready for that Retterman interview?

The two share a chuckle before…

VAL:

(continued)

Don't worry about it, get some rest. I'll see you Monday.

VAL walks away, and VERA continues walking.

MUSIC CUE: Fade out "Time Flies Tomorrow" by Paul Westerberg.

She passes by a news reporter. We subtly zoom in on the reporter as she speaks…

REPORTER:

Though two there were two casualties today, police are calling the final scenes of the dramatic event a close miracle.

We begin zooming out from the REPORTER's face, and we are now…

**41. **

**INT. Vera's Home – _Early _Morning**

Someone is watching the live news report on TV.

REPORTER:

The number of injuries is unknown, but counselling is expected to be offered to the victims and their families.

JASON and CARI are cuddling on the couch when VERA walks inside. She drops her keys on the little desk near the door, and notices the new couple. She tries to mask her feelings, but in a close up of her face we see a tinge of jealousy.

CARI:

Hey, hun. How are you?

VERA:

Tired. Has Nadine gone to bed?

CARI:

Yeah, about a half hour ago.

VERA:

Okay. I'm going to go introduce myself to the sandman. See you in the morning.

CARI:

'Night.

VERA begins the trek up the stairs, and JASON'S glance follows her.

**42. **

**INT. Vera's Room – _Early _Morning**

MUSIC CUE: Quietly begin playing "Sometimes the Sun" by The Lashes.

VERA walks in and closes the door behind her. She drops her things down on the floor and plops down on her bed, closing her eyes. She doesn't bother to even pull a blanket over herself. Her head turns to the side and she opens her eyes to see a picture of herself and two other women. She is younger in the photo—maybe early-mid teens.

A beep sounds, and VERA lifts her head up. A blinking message on the screen of her laptop, which is plugged into the wall behind the desk, is telling her that she has a new e-mail message. She clumsily gets up and sits down in the chair, clicking on the blinking message. We cut to the computer screen:

_Hi honey,_

_I'm in California. I just got here two days ago, and I already feel like I've seen everything. I guess I'm just more of a big city girl, minus the beaches. How's Lailea? _

_I'm sorry for everything. I miss you._

_Love,_

_Mom_

Cut to VERA's sad, disappointed face. Cut back to the screen, as the mouse heads toward the delete button. As soon as it clicks—louder than usual for dramatic effect—we cut to BLACK.

**THE END.**

17


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